Sanibel-Captiva Reaches
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Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, wfiMe others may be from any type of computer printer. Tfie quality of this reproducthm Is dependent upon ttie quality of the copy subm itted. Broken or indistinct print, ootored or poor quality illustrations and photographs, print bleodthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these wiU be noted. Also, if unauthorized copyright material had to t>e removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at ttie upper left-tiand comer and continuing from left to rigtit in equal sections with small overlaps. Photographs included in the original manuscript have t>een reproduced xerographically in this copy. Higtier qualify 6” x 9” black and white photographic prints are available for any pfiotographs or illustrations appearing in this copy for an additional ctiarge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMT CHILDREN'S DANCE: AN EXPLORATION THROUGH THE TECHNIQUES OF MERGE CUNNINGHAM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Sharon L. Unrau, M.A., CM.A. The Ohio State University 2000 Dissertation Committee: Approved by Professor Emeritus Philip Clark Professor Seymour Kleinman, Advisor Assistant Professor Fiona Travis UMI Number 9962456 Copyright 2000 by Unrau, Sharon Lynn All rights reserved. -
Opening Remarks
Opening Remarks Lawrence Adams was Amy Bowring’s revered mentor; his example has guided and encouraged her to tackle, with determination and purpose, assorted pursuits in dance. As Research Co-ordinator at Dance Collection Danse, Amy has been working with the organization, on contract, for five years. Many of you may know Amy through some of the projects in which she has been involved, and also as founder of the Society for Canadian Dance Studies which can boast a solid and active membership under her direction. First introduced to Dance Collection Danse in 1993 as a student undertaking research through York University’s dance programme, Amy’s passion for dance history triggered her interest in becoming seriously involved with DCD. After completing her BA in Fine Arts, Amy earned an MA in journalism from the University of Western Ontario. She is copy editor for The Dance Current magazine, has written various dance articles and encyclo- pedia entries, and is researching and writing a book on the 1948-1954 Canadian Ballet Festival phenomenon. And, to add more ingredients to the mix, she is a whiz at the computer! As Dance Collection Danse undergoes its planning process for upcoming and future activities, you can expect to see Amy’s involvement with DCD increase. To work with someone who is dedicated and skilled is a blessing, but to have someone on board who is also mindful and gracious is the best. The Editoral Committee and Board of Directors of Dance Collection Danse have dedicated this issue to Lawrence Adams, whose contribution to Canadian dance makes him deserving of .. -
The Musical Number and the Sitcom
ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139). -
The BG News April 15, 1999
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 4-15-1999 The BG News April 15, 1999 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News April 15, 1999" (1999). BG News (Student Newspaper). 6484. https://scholarworks.bgsu.edu/bg-news/6484 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. ■" * he BG News Women rally to 'take back the night' sexual assault. istration vivors, they will be able to relate her family. By WENDY SUTO Celesta Haras/ti, a resident of buildings, rain to parts of her story, Kissinger "The more I tell my story, the The BG News BG and a W4W member, said the or shine. The said. less shame and guilt I feel," Kissinger said. "For my situa- Women (and some men) will rally is about issues that are con- keynote "When I decided to disclose tion, I'm glad I didn't tell my take to the streets tonight, pro- sidered taboo by society, such as speaker, my sexual abuse to my family, I parents right away because I claiming a public statement in an rape and incest. She has attended Kendel came out of the closet complete- think it would have been a worse attempt to "Take Back the Night" several TBTN marches at the Kissinger, a ly," Kissinger said. -
Harriet Berg Dance Collection
Harriet Berg Dance Collection Papers, 1948-2002 (Predominately 1960-1980) 30 linear feet Accession #1608 Provenance The Harriet Berg Dance Collection was first given to Wayne State University in 1984 by Harriet Berg, and has been added to over the years since that time (up to 2002). Bio/Historical Info For over 40 years Mrs. Berg has been a choreographer, teacher, performer, and arts avocate. She received her B.A. in Art Education and her M.A. in Humanities from Wayne State University. She has taught at Wayne State, the Jewish Community Center (and Camp Tamarack), Burton School, and Bloomfield Hills Academy locally and the Connecticut College Summer School of Dance and the Perry-Mansfield Dance-Drama School nationally. She was the director of the Festival Dancers and Young Dancers Guild at the Jewish Community Center and directed the Renaissance Dance Company and the Madame Cadillac Dancers, both companies specializing in historical dance. In addition to her professional work Mrs. Berg has served as member and Dance committee chairman for the Michigan Council of the Arts, the Detroit Council for the Arts, the Detroit Adventure Planning Project, Michigan Foundation for the Arts and the Detroit Metropolitan Dance Project. Mrs. Berg’s collection reflect her interest in all aspects of dance, and other performing and fine arts. Some of the papers also reflect some aspects of her personal life as well as that of her family members. Subjects American Dance Festival Harriet Berg Choreographers Choreography Connecticut College Dance Books Dance Companies Dance Education Dance in Detroit Detroit Metropolitan Dance Project Historical Dance Isadora Duncan Jewish Community Center Madame Cadillac Dance Theater Michigan Dance Association Modern Dance Renaissance Dance Company Resources for Dance Wayne State University Correspondents Kay Bardsley Harriet Berg Irving Berg Leslie Berg Martin Berg Merce Cunningham Raymond Duncan Louis Falco Martha Graham Lucas Hoving Jose Limon Paul Taylor J.J. -
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 This finding aid was produced using ArchivesSpace on June 11, 2018. English Describing Archives: A Content Standard Walter P. Reuther Library 5401 Cass Avenue Detroit, MI 48202 URL: https://reuther.wayne.edu Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 Table of Contents Summary Information .................................................................................................................................... 3 History ............................................................................................................................................................ 4 Scope and Content ......................................................................................................................................... 4 Arrangement ................................................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 7 Collection Inventory ...................................................................................................................................... -
Seminoles in the Nfl Draft
137 PRO FOOTBALL HALL OF FAME All-time Florida State gridiron greats Walter Jones and Derrick Brooks are used to making history. The longtime NFL stars added an achievement that will without a doubt move to the top of their accolade-filled biographies when they were inducted into the Pro Football Hall of Fame inAugust, 2014. Jones and Brooks became the first pair of first-ballot Hall of Famers from the same class who attended the same college in over 40 years. The pair’s journey together started 20 years ago. Just as Brooks was wrapping up his All-America career at Florida State in 1994, Jones was joining the Seminoles out of Holmes Community College (Miss.) for the 1995 season. DERRICK BROOKS Linebacker 1991-94 2014 Pro Football Hall of Fame WALTER JONES Offensive Tackle 1995-96 2014 Pro Football Hall of Fame 138 PRO FOOTBALL HALL OF FAME They never played on the same team at Florida State, but Jones distinctly remembers how excited he was to follow in the footsteps of the star linebacker whom he called the face of the Seminoles’ program. Jones and Brooks were the best at what they did for over a decade in the NFL. Brooks went to 11 Pro Bowls and never missed a game in 14 seasons (all with the Tampa Bay Buccaneers), while Jones became the NFL’s premier left tackle, going to nine Pro Bowls over 12 seasons with the Seattle Seahawks. Both retired in 2008, and, six years later, Jones and Brooks were teammates for the first time as first-ballot Hall of Famers. -
Enjoyed Nationally & Internationally!
Made in Melbourne! Enjoyed Nationally AUGUST 2012 & Internationally! AUGUST 2012 Issue 93 q comment: ART IN YOUR HANDS ArtsView has been developed to promote and support Melbourne and Sydney’s artists and galleries with Publisher & Editor exhibitions updated monthly. Brett Hayhoe +61 (0) 422 632 690 [email protected] An easy way to stay up-to-date with current and upcoming exhibitions from your favourite artists as well Editorial as the best way to discover new and emerging artists. [email protected] Showcasing hundreds of works of art each month, ArtsView gives you an in-depth preview of exhibitions Sales and Marketing and allows discerning art viewers to find art in their [email protected] area. Design With a wide variety of styles and art on show, ArtsView Uncle Brett Designs & Graphics puts them all in one place with Maps and Collection quick view tools to make finding art at Australia’s Contributing Writers Evan Davis, Alan Mayberry, Tasman Anderson, largest commercial galleries quicker and easier. Barrie Mahoney, Brett Hayhoe, Chris Gregoriou, Pete Dillon, Matthew Baker- ArtsView : FREE on the iTunes App Store Johnson, Nathan Miller, Briand Bedford, Max Jimenez Cover picture DnM owners with compliments of Daniel Martin Bailey Photographic Contributions Alan Mayberry (gh, q drag), Avril Holderness-Roddam (flamingos), Daniel Martin Bailey (dnm, feature) Distribution [email protected] ISSN 1449-499X QMAGAZINE PO Box 7479, St. Kilda Road, Melbourne Victoria 8004 www.qmagazine.com.au LEGAL DISCLAIMER Q Magazine is a free publication and can only be distributed through selected outlets. Views expressed in Q Magazine do not necessarily represent the opinions of the publisher/editor. -
Steve Livingstone
Steve Livingstone Exceptional Business Leadership & Development for the Professional Sports Industry Building Teams, Partnerships, Sales, Marketing & Fan Engagement That Drive Event Attendance and Club Growth Profile Innovative and high impact executive leader with a proven track record of delivering positive organizational change by introducing and implementing best-practice strategic approach across sales, marketing and operations for leading sports organizations in North America and Europe. Drives business growth through research and analytical approach, fostering teamwork and collaboration across the organization, and creating strong external partnerships to optimize channel pipeline and maximize revenue generation. Conceptualizes, develops and delivers new outreach in marketing, sales, and branding programs while motivating cross-functional teams to excel beyond expectations. Highly experienced and dedicated with NFL and leading global sports brand background. Core Competencies & Skills: Professional Sports Organization Leadership ~ Comprehensive Knowledge and Experience in Sports Team Management, Sales, Marketing & Operational Best Practice ~ Sports Franchise/Club Establishment, Development & Management ~ Team Building & Collaborative Approach ~ Board of Director Presentations ~ Market Research & Analysis ~ Global Team Communication ~ Contract & Vendor Negotiation ~ Stadium Development ~ Partner & Client Relations ~ League & Government Liaison ~ Brand Marketing, Merchandising, Hospitality, Data Management, Ticketing, CRM & Fan Experience -
Widescreen Weekend 2014 Brochure
WIDESCREEN WEEKEND 10-13 APRIL 2014 2OTH BRADFORD INTERNATIONAL FILM FESTIVAL IN PARTNERSHIP WITH NATIONAL MEDIA MUSEUM Bradford BD1 1NQ Box Office 0844 856 3797 www.nationalmediamuseum.org.uk www.bradfordfilmfestival.org.uk 20TH BRADFORD INTERNATIONAL FILM FESTIVAL 27 MARCH - 6 APRIL 2014 WIDESCREEN WEEKEND 1 ................................................................................................................. INTRODUCTION TH TICKETS 2O In 1954 the movie industry was facing fierce competition from television, and investing heavily in offering the best possible experience in the cinema. Quality counted, and that year Tickets for individual screenings and events can be a new widescreen process was launched. The words “Paramount proudly presents the first purchased from the National Media Museum Box picture in VistaVision” appeared on screen and the letter V came flying towards the audience, Office (open 10am-9pm during the festival), on the BRADFORD creating a startling 3D effect. And with this introduction yet another widescreen process was phone 0844 856 3797 (8.30am-8.30pm), or via the presented to the public, the third in as many years. Each was designed to ensure that the only website www.bradfordfilmfestival.org.uk INTERNATIONAL place you could witness vivid, exciting, detailed imagery, was in cinemas. For details of how to book a widescreen FILM FESTIVAL Hollywood had to strive continually in the 1950s to offer something which could not be weekend pass, please see the festival website 27 MARCH - 6 APRIL 2O14 rivalled in the home. Television had started gaining a foothold in American homes from 1948 www.bradfordfilmfestival.org.uk and just like today – with large screen HD TVs, home cinema and uncompressed audio – the battle between the two media was intense. -
June, 2008 CAST & CREW
Issue No. 102 Single Copy $3.00 June, 2008 CAST & CREW “The Source For Theater Happenings” PAPERMILL THEATRE GETS ALL SHOOK UP By Greg Titherington “My mom is a singer and voice teacher, both classical and and vacationers in summer to large condo complexes. I talked musical theater, at Plymouth State University. When I was to Development Director Katya Maiser about the challenges of little, she was still performing and she would bring me to running a cultural center in a small town surrounded by rehearsals. I would sit with my coloring books and stuff and wilderness. watch, so I got pretty hooked. I guess when she was five months pregnant with me she played a boy in the opera of ROMEO AND JULIET, so she says that was my first time on stage!” I spoke recently with Kate Arecchi, entering her second season as Artistic Director of the Papermill Theatre in Lincoln, NH (no connection to the famous Paper Mill Playhouse in Millburn, NJ), nestled in the valley below Loon Mountain Ski Resort in the White Mountains. I had remarked that her bio showed her to be a real theater vagabond, with credits from around the country. No surprise to find that she was almost the stereotype-born-in-a-trunk-in-the-dressing-room-kid. “My dad was in the Coast Guard, so we moved around a lot. Actually, my parents still keep their sailboat in Portland. That Kate Arecchi, Artistic Director, and Katya Maiser, Development was his first station when he was 23 and his last when he retired Director when I was in high school. -
Musical Theatre in the Mountains: an Examination of West Virginia Public Theatre’S History, Mission, Practices, and Community Impact
MUSICAL THEATRE IN THE MOUNTAINS: AN EXAMINATION OF WEST VIRGINIA PUBLIC THEATRE’S HISTORY, MISSION, PRACTICES, AND COMMUNITY IMPACT. David S. Sollish A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Committee: Michael B. Ellison, Advisor Elaine J. Colprit Graduate Faculty Representative Jonathan L. Chambers Ronald E. Shields ii ABSTRACT Michael B. Ellison, Advisor The purpose of this study was to examine the ways in which a professional theatre can impact its community and to provide useful suggestions for young producers hoping to start their own theatre. By using the West Virginia Public Theatre as a case study and by examining its three-part mission (to entertain, to educate, and to improve the quality of life), this study highlights both effective and ineffectual practices conducted by the theatre, its administration, and its staff to ascertain the efficacy of that mission. Furthermore, the numerous voices stemming from my personal interviews with a cross-section of the community have served as a principal source of data from which to analyze the theatre’s impact on the blue-collar, sports- focused society of North Central West Virginia. West Virginia Public Theatre was established in 1985 and since has grown to be a reputable summer stock company. Modeled on the Pittsburgh Civic Light Opera, West Virginia Public Theatre has developed from a small, unknown theatre performing in a parking lot tent to a well-respected summer stock theatre with aspirations of further developing into a regional company.